Caccatpuța technical_term

Dictionary: not in dictionary · Pages: 4 · Occurrences: 10 · Affirmations: 5 · Graph degree: 8 (in 0, out 8)

Variants (3): Caccatpuța (5), caccatpuța (4), caccatpuț (1)

Generative rules (1) ↗ filter all

R_c47_caccatputa structural · 5 att.
caccatpuṭa = premier des 5 tālas du Nāṭyaśāstra XXXI, caturasra, 4 kalās = 8 mātrās; lié à Gāndhārodīcyavā, Kārmāravī (16 kalās variante), et chants svara+pada

Pseudocode (DSL v1.1) ↗ full DSL (raw text)

RULE id: caccatpuța (cluster 47)
SCOPE: technical_term family
STATUS: empirical
CONFIDENCE: empirical
PROTECT: false

Essence pseudocode — identity + RECORD. The page citations for each slot value are in the Grammar record table above (audit trail). The full DSL adds ASSERTIONS with verbatim quotes (see Affirmations below) and CITED_RULES (see Graph relations).

Graph relations

Outgoing (8)

--[structural]--> gāndhārodīcyavā (1)--[relation]--> pada (1)--[structural]--> Caturanga (1)--[structural]--> Nāṭyaśāstra (1)--[relation]--> svaras (1)--[relation]--> tāla (1)--[structural]--> tāla (1)--[structural]--> mātrās (1)

Incoming (0)

none

Affirmations (5)

relation

p.vol_II_p042

english

conf 0.93

[show source]

Caccatpuța is the tāla associated with Kārmāravi

"Caccatpuța (is the tāla), there are sixteen kalās."

relation

p.vol_II_p058

english

conf 0.91

[show source]

caccatpuța is a tāla that obtains in songs comprised of svara and pada

"A tāla like caccatpuța obtains in the songs comprised of svara and pada."

99 TRANSLATION [Jāti-bhinna] Now he (the author) has spoken of the description of jāti-bhinna - The aṁśa of jātis should be established and so should be the sparse and the abundant. Sparseness and abundance come about on account of sparse and abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma (short and very short in time) and curved (phrases).50 (308) [Anu. 178] This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short in time) phrases, this is the import. Its description is thus - [3. Bhinnakaisikamadhyama] Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣaḍja as its ainśa, madhyama as its ny\bar{a}sa and is (endowed) with mandra (low) gamakas^{52} (309) [Anu. 179] This means-bhinnakaisikamadhyama is related to şadjagrāma on account of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varņa. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs comprised of svara and pada. [Śuddhabhinna] Now he (the author) has spoken of the definition of śuddhabhinna- (The rāga) that bedecks itself with its own jāti (from which it is born) and kula (family), leaving the other jāti and taking up (the qualities of) its own family, is called śuddhabhinna. (310)

structural

p.vol_II_p038

english

conf 0.98

[show source]

Caccatpuța is the tāla (rhythmic cycle) associated with Gāndhārodīcyavā.

"The tāla should be known as caccatpuța."

structural

p.vol_II_p042

english

conf 0.94

[show source]

Caccatpuța contains sixteen kalās (metric units)

"Caccatpuța (is the tāla), there are sixteen kalās."

structural

p.vol_II_p161

english

conf 0.95

[show source]

Caccatpuța is the first among the five tālas described in Nāṭyaśāstra XXXI and is the only caturasra tala composed of four kalas or eight mātrās.

"Caccatpuța is the first among the five tālas described in NŚ XXXI. This is the only caturasra (lit. square) tala, being composed of four kalas or eight mātrās."

٠ VIMARŚA 305 central part of present Madhya Pradesh. The special preference for Mālavā requires further investigation. 29. The word gamaka is used here in the sense of vocal embellishments including shakes; it is not restricted to shake. 30. See note 22. 31. Each grāmarāga is said to be born of one or more jātis. 32. Pūrvaranga has been described in NS IV and V; it embodies instrumental rendering, song, dance, dialogue etc. presented as a preliminary to drama. It has both ritualistic and psychological value as it ensures the success of drama by propitiating the gods and prepares the audience for being receptive to drama. 33. Kākalī and antara are always prescribed to be sparse, but here only the sparseness of gandhara is prescribed, although both antara and kakali are present. It could be construed that gandhara stands for the original gāndhāra and not antara. See note 91. • 34,35. The prescription of a specific varņa and alaṅkāra in a rāga is not easy to comprehend. It could only be surmised that the peculiar form of a raga in some cases becomes manifest in ascent, in other cases in descent and similarly a specific alaṅkāra could be assigned to a rāga on account of having a special role in establishing the same. 36. Mārga literally means path; it stands for the span of a tāla. NŠ describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti being its double and dakṣiṇa again being its double. Our text describes two additional mārgas viz. dhruva being half of the length of citra and śūnya being half of dhruva. (See Vol.I. Anu.113) 37. Kalā has many meanings; the main ones are-firstly, the time-unit that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in tāla, sounded or unsounded and thirdly, the unsounded action. Here the first meaning is relevant because the length of kalā depends on the mārga in use at a given time. 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. This is the only caturasra (lit. square) tala, being composed of four kalas or eight mātrās. 39. Garbha-sandhi is the third among the five sandhis or junctures in drama described in NŚ XIX; the first two being mukha and pratimukha and the last two being vimarsa and nirvahana. Garbha literally means 'womb', the inside or interior of something. In drama garbha-sandhi stands for that juncture where the 'sprouting' of the 'seed' has taken place, but the fruit is still enshrouded in the 'garbha'. 40. Our text does not uphold the relationship of any raga to both the grāmas; the decision always rests with the interval of pañcama, if it is composed of four śrutis, then relationship with ṣadjagrāma is confirmed and